[1]
From: Elke Gaugele <e.gaugeleakbild.ac.at>
Subject: CFP: Localising Critical Studies. Decolonial Perspectives on the Return of the "Indigenous" in Art History, Textile and Fashion Studies

University of Edinburgh, April 7 - 09, 2016
Deadline: Nov 12, 2015

In decolonizing theories and practices of contemporary global art, fashion,
and design, the anthropological concept of the indigenous has gained new
attention and emancipatory prestige. While critical theorists claim
“indigenous methodologies” (Denzin/Lincoln/Smith 2008) and call for a
trinity of critical, indigenous, and decolonising theories, globally
operating artists and designers progressively appropriate indigenous
patterns, tribal designs and native practices in support of and
identification with local traditions. As a response, indigenous art,
textile and fashion fairs flourish on the contemporary art and textile
markets. Taken together, these developments indicate of what we suggest to
designate as an “indigenous (re)turn” in the field of cultural and
theoretical production, thus following up on the “ethnographic turn” in
contemporary arts introduced twenty years ago as a conceptual shift by Hal
Foster (Foster 1995).
As a focal point, the panel engages with critical, indigenous, and
decolonising practices, methodologies, and theories in the fields of
contemporary art, fashion and textile research and inquires their potential
and meaning for a transnational reshaping of critical studies. What is
their political validity for critiquing global hegemonies in the art and
fashion market? How can they challenge the theory and practice of Western
methodologies and epistemologies? How can critical, indigenous and
decolonizing methodologies be turned into powerful critical methodologies
without being absorbed by ethnographic self-fashioning, market-driven
commodification, or utopian spiritual and political ideologies of community
and nation building?

We encourage papers that critically locate and debate critical studies in
art, fashion and textiles from an indigenous and decolonizing
cross-disciplinary perspective.
Please sent your proposals until November 12th 2015 to

b.mersmannjacobs-university.de
e.gaugeleakbild.ac.at

[2]
From: Patricia Allmer <patricia.allmered.ac.uk>
Subject: CFP: AAH SESSION Roland Penrose - Curating the 20th Century

University of Edinburgh/2016 Association of Art Historians Conference
Session, April 7 - 09, 2016
Deadline: Nov 9, 2015

Convenors:

Patricia Allmer, The University of Edinburgh, patricia.allmered.ac.uk
Colin Rhodes, The University of Sydney, colin.rhodessydney.edu.au

The curatorial work of Roland Penrose (1900–84) significantly shaped
20th-century British and international art scenes, influencing practices of
display and collecting, and profoundly affecting popular Western
conceptions of modern art. It also defines connective and collaborative
networks that help map configurations of the British avant-garde. Edinburgh
is home to the archive and library of this surrealist artist, curator,
writer, and collector.

Penrose’s curatorial career began in 1936, when he co-organised, with ELT
Mesens, David Gascoyne and Herbert Read, the 1936 International Surrealist
Exhibition in London, marking Surrealism’s arrival in Britain and the
emergence of a radically new British avant-garde. Subsequent curatorships
include landmark displays of Picasso’s work in London in 1938, 1951, 1960
and 1967. As major instigator and co-founder of the London Institute of
Contemporary Arts (ICA) he curated post-war exhibitions like 40 Years of
Modern Art (1948) and 40,000 Years of Modern Art (1949), and was
instrumental in other exhibitions at the ICA and major British and American
museums.

Papers are invited which offer theoretical and historical explorations of
different dimensions of this varied, complex, and influential work. Some
topics for consideration include (but are not limited to) Penrose’s
curatorial activity and:

• Surrealism
• curatorial traditions; his use and transformations of them
• Anglo-American exchanges
• subsequent reception of artists he represented
• public and intellectual perceptions of British and international
artists and avant-garde groups
• artistic and collecting practices
• intersections with his role as dealer
• the development of the ICA as international benchmark

Email paper propsals to the session convenors by 9 November 2015. Paper
Proposal Guidelines are available to download here:
http://www.aah.org.uk/annual-conference/sessions2016/session23